


faithful misrepresentations

by viviandarkbloom



Series: the french connection [2]
Category: Last Tango In Halifax
Genre: F/F, Tumblr Prompt, women who love sheep and the women who love them
Language: English
Status: Completed
Published: 2017-09-03
Updated: 2017-09-03
Packaged: 2018-12-23 04:22:31
Rating: Mature
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 1
Words: 3,125
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/11982036
Author URL: https://archiveofourown.org/users/viviandarkbloom/pseuds/viviandarkbloom
Summary: Last of the tumblr prompts, suggested by a kindly Anon.This is a companion piece to “Completely Undressed and Mostly Sober in the South of France.” It might be nice if you read that first, but I think this can stand on its own. At any rate, aluckypenny had suggested a continuation of that piece in some way and since she controls the Lesbian Empire on the European Continent in an Unspecified Rural Location Where They Are Inclined to Wear Lederhosen I must obey or I may never get back to Italy again.This story is an exercise in style: For dialogue I did not use traditional quote marks. So, you know, it might work, it might not, it’s OK and you can say so, I’m a big girl and I have a lot of wine at the ready, but please don’t be a twat about it.Finally, this is post-series 4.





	faithful misrepresentations

**Author's Note:**

> Last of the tumblr prompts, suggested by a kindly Anon. 
> 
> This is a companion piece to “Completely Undressed and Mostly Sober in the South of France.” It might be nice if you read that first, but I think this can stand on its own. At any rate, aluckypenny had suggested a continuation of that piece in some way and since she controls the Lesbian Empire on the European Continent in an Unspecified Rural Location Where They Are Inclined to Wear Lederhosen I must obey or I may never get back to Italy again. 
> 
> This story is an exercise in style: For dialogue I did not use traditional quote marks. So, you know, it might work, it might not, it’s OK and you can say so, I’m a big girl and I have a lot of wine at the ready, but please don’t be a twat about it. 
> 
> Finally, this is post-series 4. 

 

**i. it’s time to get the brioches**

At 5 a.m. on New Year’s Eve, she apologizes for not shaving her legs.

The morning, blue and black with jagged frost etched across a darkened windowpane, rests at the edge of Caroline’s mind. It’s so terrifyingly early that she doesn’t really want to know the time but cracks open a reluctant eye anyway; the bedroom’s digital clock coolly burns a 5:05 on the inside of her eyelids, the blunt serifs morph into an SOS and she thinks, good God, I am awake at 5 in the morning, this is what I get for sleeping with a farmer. Because Gillian stirs warm and restless against her, driven by the undeniable rhythm of blood that always has her racing against the sunrise and who, because she is apparently the master of not only the unwanted spontaneous confession but also the truly baffling nonsequitur, opts not to say good morning but rather randomly and needlessly apologizes for not shaving her legs before this, their trip to France.

Blind as a kitten, Caroline reaches for her and, half-asleep through a tangle of warm limbs, hones in on her calf; the soft hair tickles, the solid muscle undulates, the raspy glory of skin warms Caroline’s palm. There is a scar on this calf, invisible in the dark but vivid in her mind as a distinct but delicate comet tracing a pale horizon. It was, Gillian told her, caused by a jutting, broken spoke on a wheelbarrow.

That’s when I learned not to do farm work while wearing shorts, she had said.  

Caroline replies to the apology by mumbling don’t mind into a pillow; sleepiness translates it into  _dun mime_. She’s cresting the wave back into sleep when she realizes that Gillian is not moving, not rising out of bed with a stretch and a groan and a curse word. Which is odd, because Gillian likes routine. Every morning they’ve been here she’s up before the sun, making herself tea, reading for a bit, and then walking a mile to the village to fetch brioches from a baker amusedly tolerant of an Englishwoman who flirts with her grown son and insists on conversing in rusty French. By the time she returns the brioches are stone cold but she revives them in the oven, makes coffee, and wakes up Caroline by cannonballing onto the bed like a kid on holiday. Winter clings to her skin and clothes but her morning kiss is persistent and sweet and like waking into a warm, summery daydream and not a chilly old French farmhouse lacking proper heat.

She forces herself into a higher level of coherence, clears her throat, firms up a question: You’re not getting up?

Not yet, comes the reply.  

In the dark she aims badly for Gillian’s forehead and gently smashes her palm against a nose.

Are you sick?

No. It’s just—we don’t have much time left. Here, I mean. Want to enjoy it.

They return home the day after tomorrow.

By staying in bed as long as possible, Gillian adds as needless clarification.

Under two blankets and a comforter movement is heavy and surreal, a sluggishly sensual underwater ballet. The blankets move as Gillian slides on top of her, exposing Caroline’s shoulder to a rousing chill, which is briefly warmed by Gillian’s mouth before moving along the inlet of the collarbone toward her breast. She spreads her legs, Gillian settles in between them and presses into her, and even though it’s all so new between them—so wonderfully new, she thinks, as Gillian traces the inside of her thigh—she identifies the variance in tempos and moods better now and knows this time will be slow and sweet and hopefully she won’t bang her skull against the quasi-antique headboard again.

You’re giving up brioches for me?

Nah. I’ll get ’em later. Just delaying gratification, as it were.

So—how delayed is gratification when all you’re doing is merely sublimating it with another pleasure?

Even though they can barely see one another in the porous dark, a bluish outline of morning light traces the contours of Gillian’s face and hair and Caroline can see a hitch of expression, a shift of lines as she smiles.

Shut up, you, she says.

**ii. continental beauty**

For one horrible aching moment—while wiping down a quartz countertop aged to such an extent that it looks as if it’s survived a hundred years of everyday bacchanals, and this is why housework is dangerous and housewives go mad, she thinks, it sets the mind loose to dwell on so much of life’s chaotic cruelty—Caroline realizes that she never had this opportunity with Kate, that is, a long romantic getaway and not just a mucky weekend at a nearby hotel. Even on that modest level she fucked it up nearly beyond repair. Even on vacation with her husband of eighteen years always she felt—she knew—she was a fraud, nothing but a character in one of his novels. Maybe it’s a sign; maybe it means something. Here in this farmhouse in the Rhone Valley hundreds of miles away from home, she waits for the shoe to fall into a dreaded Grand Canyon of unspecified anxiety.

They spent months not talking about what they needed to talk about. It was easy enough to blame a host of things for this: demanding work schedules involving obstreperous students and sheep, parenting thickheaded boys, coparenting a toddler with a knobhead whose taste in women was obviously on the decline, a bountiful supply of excellent wine from a beautiful young woman who simply would  _not_  go away, and complete, sheer cowardice. Acceptance of the status quo has always come easily to Caroline, particularly in this instance because she was getting good wine and properly laid on a regular basis—thus her mother’s interrogations and condemnations, her secretary’s prurient questions (“You have it off with Brokeback Shepherd yet?”), and generally everyone’s bewilderment and clumsy emotional tap-dancing around the subject were all easily ignored.

Then last month, during one of those boisterous family dinners where, as was not uncommon, Gillian looked at her in an indescribably aching way—followed by a self-chastising frown, slight shake of the head, and a protective hunch of her shoulders that seemingly closed off any possibility of rapprochement—Gary announced to all present that renovations to his vacation home in France were finally complete. During this interminable period he had gone from referring to the house as a  _chateau_  to deeming it a  _money pit._  It was actually an eighteenth-century stone farmhouse, its interior now as rustically authentic as one envisioned by a nouveau riche entrepreneur from Yorkshire, and Caroline twitchingly recalled Gillian’s proposal earlier in the spring—that they would go there for a few days during the summer and  _work shit out._  But summer ripened and withered away and the promise, representing everything that was seemingly lost between them, lingered bitterly.

After dinner Caroline stood in the doorway of Gillian’s kitchen observing their motley, contented family—Raff playing Legos with Calamity and Flora, Lawrence attempting to show his grandfather and Gary how to play Halo Wars 2 on an Xbox, and Celia, post-two glasses of wine, going on about  _the life of the theater_  to the clearly bored yet admirably patient Ellie. She felt Gillian’s presence at her side—churning and restless as a spoon stirring a pot, staring at her feet, then a lamp, then her son, and finally fixing that burning gaze of hers on the woman next to her while the back of her hand glided over Caroline’s knuckles, thus causing the latter to force out a surprising hybrid of a squeak and a gasp.

Let’s—let’s do it, she said. Come with me to France.

Five minutes later they were purchasing plane tickets on the mobile.

Five days into this trip she has learned many things about Gillian: she slavishly embraces routine whenever possible, she likes brioches, she’s reading  _Middlemarch_  for the third time now but Caroline cannot imagine why because she herself has never made it past page 50, she’s capable of lingering over a cup of tea and not gulping it down because she’s not running late or has a hundred things to do in a day, she thinks MI6 was involved in Princess Diana’s death, she takes no firm side in the great over vs. under toilet roll debate—don’t people have anything better to do than argue about toilet paper? she had said—

—and she is an admirer of great beauty because now she barrels through the door after tromping around the countryside for an hour and breathlessly announces, I’m in love.

Caroline imagines herself unseeded by either the baker’s handsome son or the buxom young woman who works the vineyard nearby, the latter spotted the other day during a wine-tasting tour and whose sumptuous cleavage was the focus of surreptitious glances from Gillian. After half a lifetime of stealthily admiring the physical beauty of women, Caroline knows these covert maneuvers when she sees them. Alas, all she has to counter these continental beauties are certain oral skills and her talent for making an orange-ginger biscuit that Gillian loves and who knows, perhaps that will save the day, perhaps even as sun perpetually sets on the English empire all that truly matters is cunnilingus, tea, and biscuits.

I’m confident of your ability to attract, she wants to tell Gillian. But not my ability to hold you.

But while hanging up her coat Gillian starts rambling about a ram, a sheep with a fancy French name. She saw him posing on a hillside, broodingly apart from the herd, a Heathcliff among sheep. His markings and coloring exquisite, his horns symmetrical, his poise exceptional—

Before Gillian can declare herself high priestess of this mythic creature’s cult, Caroline—dimly aware of the unseemliness of jealousy over a sheep—interrupts rudely: What’s it called again? A rum-ball merino?

Gillian rolls her eyes. Rambouillet, she says. She grabs a cup for tea. A Rambouillet merino.

Ripe for plucking, the word hangs in the air and Caroline ravenously seeks its source in a kiss. She holds Gillian’s lower lip gently between her teeth, tongue running the plush length of it, tasting salt and mystery because, frankly, women have always been unfathomable to her.  Sweetly, wonderfully unfathomable. She starts to unbutton Gillian’s thick, lined plaid shirt—only to discover, underneath, a second plaid shirt thin and soft with age. At which she breaks off the kiss and bursts into laughter.

Jesus Christ, you’re like a flannel onion. Layers and layers.

It’s cold, in case you haven’t noticed, Gillian says—also laughing—as she sits the empty cup on the counter.

I’m trying to warm you up, Caroline replies as she sets in on the second flannel layer. In case you haven’t noticed.

Tossing her arms around Caroline’s neck and pulling her into another kiss, another embrace, Gillian says, I’ve noticed.

She doesn’t feel too distressed about fucking Gary’s sister on Gary’s distressed leather couch—burnished leather, she thinks he called it and the color was  _Churchill cigar_ —because there is an old blanket on it and as they fall onto it she doesn’t care about much at the moment except the wonderments and sensations of skin and taste, wondering if Gillian has ever called anyone else  _baby,_ Caroline can’t quite imagine that she has and would like to reserve that titular honor as her very own, wondering when the last time someone went down on her properly because her reaction and sheer enjoyment of it make Caroline feel like Aphrodite incarnate coming down from on high and she has to cling to Gillian as if she’s riding a rollercoaster by the skin of her teeth.

Afterward she’s sprawled on the couch wrapped in the comforter Gillian dragged out the bedroom, staring at the crisscross of the ceiling’s dark wood roof beams and with her head pillowed on Gillian’s bare thigh. With one flannel shirt back on, Gillian sits cross-legged while drinking one of Gary’s very pricey local Syrahs and pretending to read  _Middlemarch,_  pretending because she’s humming, which she usually does while absorbed in the comforting repetition of a task like washing dishes or mending a shirt or soothing a baby and in this instance the task at hand seems to be slowly, rhythmically running her fingers through Caroline’s hair.  _I like your—your hair,_  she had said the other day, shy and stammering and nervous after they made love, as if the gentle offering of a compliment would somehow be virulently rejected, and while Caroline loved the sweet awkwardness of it she hated the man who made Gillian terrified of revealing the slightest vulnerability.

She stares at the shadowed, foreboding ceiling beams, thinks that Gary should have picked a wood of a lighter color because the dark beams make her think of crucifixions.

Say it again, she says to Gillian.

What?

The name of the sheep.

Rambouillet.

Oh, she sighs, that’s lovely.

Unexpectedly Gillian drags her finger, damp and dribbling Syrah, across Caroline’s lips, as if soothing an infant with a taste of milk. You’re really weird, she says.

I’m not the one in love with a sheep, Caroline replies.

**iii. the search for intelligent ovine life in the Rhone Valley**

The afternoon winter sun, useless and pale, emanates as much heat as the moon. They are out in search of the great Rambouillet merino. Gillian insists she needs to get a better photo of the sheep so she can submit it to something called “Google sheep view” and Caroline, who is perfectly fine with not knowing what the hell that is, is nonetheless curious to know what the fuss is about and accompanies her. Leading the mission, Gillian stalks the dirt backroad that runs behind Gary’s farmhouse with her usual dogged, determined pace. She’s been in a bit of a mood since lunchtime and Caroline knows enough to let her be until she’s ready to talk; it’s likely, though, that she dreads the thought of returning home to the questions, the judgments, the expectations that will be laid at their feet.

She trails behind. Outside of the Yorkshire countryside she has navigated most of her life, her sense of direction is rubbish and she hasn’t a clue where they really are. She sighs and burrows deeper into her scarf. It’s the coldest day of the trip thus far. The stiff, expensive boots she purchased for the trip are pinching her toes and the too-high arches dig into her soles. In the distance she sees the vineyard that they visited days ago, the spherical red caps of the buildings distinct against the pale sky, and has a wince-inducing guilty thought about Olga.

Shortly after committing to this journey, she officially ended it with Olga. It was not so much a breakup as an act of disengagement; some days she actually convinces herself of this. Regardless it required some semblance of fortitude to finally override the guilt-ridden, passive-aggressive lust that propelled the relationship on her part. Olga took it well. She also took a case of an amazing Chenin Blanc from the Loire Valley that she had initially gifted to Caroline and now presumably would bestow upon another boozy, middle-aged lesbian—or, more likely, her ex—both nonetheless worthy of her considerable charm and refined palate, while leaving Caroline to the tender mercies of a sheep farmer overfond of cheap Lambrusco.

She stops for a moment to look at red roofs jutting into milk-white clouds and dwell in the newness of everything—place and memory, time and love—while accepting the sense of loss that perpetually nips at her heels. Snow flurries waltz to the ground.

Then she notices that up ahead on the road Gillian has stopped and turned around. Head tilted, she critically eyes Caroline as she would a lagging, miscreant ewe—as if to say, come along now.

Grimacing, Caroline takes long strides to catch up. She apologizes on arrival, insincerity muffled through the cashmere scarf.

Gillian carries a long, sturdy branch found earlier on the road. Alternately she’s been using it as a walking stick and brandishing it as a weapon, whacking at husked, brittle weeds lining the road, sadistically poking at stones. Idly she whips it around her body while frowning at Caroline.

What were ya doing back there? she asks.

Contemplating life’s mysteries. Appreciating the sublimity of nature. Oh, and staring at your ass. Not necessarily in that order.

Bashful at the compliment, Gillian lowers her head and grins. Then, wryly: So you weren’t stopping ’cause those boots are hurting you?

Not a bit, Caroline lies.

You’re limping, she says, and then nods in the direction of the winery. D’ya think they send out Saint Bernards with little wine flasks to rescue snotty English bitches who don’t wear proper footwear whilst they wander about the countryside?

That would be marvelous.

Gillian points up ahead at a copse of trees. The gesture is so startling and beautiful and confident that Caroline wants to seize her hand—ungloved, snowflake caught and melting on her thumbnail—and kiss it.

Right up there, she says, past those trees, is a shortcut through the wood to the vineyard. If you can make it, we could walk there. Couple glasses might revive you for the walk home.

And if it doesn’t?

Reckon I’ll have to drag you back somehow.

Cavewoman.

Nah. I’m not that strong, Gillian says with a roll of her shoulders, but I’ll give it a go.

Au contraire.

That’s the first bit of French out of your mouth since we got here.

You’ve been doing well enough for both of us, Caroline says, so why bother? She leans into Gillian, quietly pleased at the arm that automatically wraps around her waist. Then she presses her face into the crown of Gillian’s hair, kisses it, and says, I’ve always believed—she begins shakily, pauses clumsily—always known—you’re stronger than you give yourself credit for.

Gillian pulls back and stares at her, unsure if what she’s saying is an obvious revelation or a faithful misrepresentation of the brutal facts that comprise her life. She thinks that Gillian usually skews toward the latter as a default viewpoint, and realizes it may take a lifetime for her to sort it, to undo it. If ever. What surprises Caroline is not this but the belief, settling into her bones and countering her own misguided self-assessments, that she is finally brave enough to be fully present in Gillian’s life.  

On the walk home, both of them tipsy and tired, they see the Rambouillet merino ambling across an open field into the setting sun. And he is beautiful. 


End file.
